This is a tricky haiku constraint because WRECK is so forceful that it can easily flatten the third line into summary. Haiku usually works best when the ending opens the image or sharpens it, not when it merely labels the situation. Debbie Wilson’s “RINSE peanut butter… / GREAT wad of gum FREED at last / My hairdo a WRECK” is a good example of solving that problem: the poem builds a specific physical mess first, so WRECK arrives as an earned condition of the scene. Across the set, the better entries give the target word an actual job — aftermath, comic damage, emotional state, or attempted cure — which keeps the constraint from overpowering the haiku.